Modernism/modernity最新文献

{"title":"Abroad Among Our Kind: Sylvia Townsend Warner's Spanish Civil War Love Poems","authors":"Mercedes Aguirre","doi":"10.1353/mod.2023.a902602","DOIUrl":"https://doi.org/10.1353/mod.2023.a902602","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"37 - 55"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43322468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Poetics of Liveliness: Molecules, Fibers, Tissues, Clouds by Ada Smailbegović (review)","authors":"Joshua Corey","doi":"10.1353/mod.2023.a902616","DOIUrl":"https://doi.org/10.1353/mod.2023.a902616","url":null,"abstract":"217 Diplomacy and the Modern Novel. In fact, such interaction often feels strangely ancillary to the arguments here. Rather, the diachronic limning of the relations between author and diplomat, with its emphasis on the mutation of euphemism and routine, threatens to be subsumed into more familiar accounts of modern professionalization and the shifting affect of manners and bureaucracy in the wake of World War I. On one hand, this bespeaks the value of the volume in complementing recent work on modernist institutions, such as that of Greg Barnhisel. But on the other, it underscores the extent to which diplomacy’s very nature is to minimize the disorientation of the exchanges it mediates—perhaps the sticking point in any easy analogy between diplomacy and modernist authorship.","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"217 - 219"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48510205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Utopian Spontaneity: Adorno's Concept of Mimesis and Surrealist Automatic Writing","authors":"J. Kaushall","doi":"10.1353/mod.2023.a902600","DOIUrl":"https://doi.org/10.1353/mod.2023.a902600","url":null,"abstract":"This essay discusses how surrealist automatic writing may break an impasse in the philosopher Theodor W. Adorno’s work. 1 Adorno argues that, since the advent of instrumental rationality in modernity, the subject has repressed an aspect of her self— mimesis—that expresses the desire to attain proximity to an object through imitation rather than conceptualization ( Aesthetic Theory , 145–46). This aspect, which is a mode of experience, is employed so that the subject may cognize the object without discursive control. However, since the promise of modernity—to emancipate the subject through rational freedom—has been broken and distorted by late capitalism, the status of mimesis has been thrown in doubt. Adorno argues that mimesis is marginalized in modernity: instead of occurring in epistemological cognition, it now has been forced into aesthetic experience (that is, the experience of natural beauty as well as artistic objects) (69, 146). 2 Mimesis is reduced to imitating reified and damaged life (through artistic technique, which develops according to the vicissitudes of historical experience), which means that any intimation of metaphysical transcendence (such as materialist utopian hope) must be negative. For instance, in the Dialectic of Enlightenment , Adorno and Max Horkheimer argue that mimesis is an irrational subjective impulse—which, when coupled with rationality, could become redemptive: “The chaotically regular flight reactions of the lower animals, the patterns of swarming crowds, the convulsive gestures of the tortured—all these express what wretched life can never quite control: the mimetic impulse. In the death throes of the creature, at the furthest extreme from","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"1 - 19"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41735039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Making Us New: From Eugenics to Transhumanism in Modernist Culture","authors":"Maren Linett","doi":"10.1353/mod.2023.a902608","DOIUrl":"https://doi.org/10.1353/mod.2023.a902608","url":null,"abstract":"professor of English and the founding director of the Critical Disability Studies program at Purdue University. She is the editor of the Cambridge Companion to Modernist Women Writers and the author of three monographs: Modernism, Feminism, and Jewishness (2007), Bodies of Modernism: Physical Disability in Transatlantic Modernist Literature (2017), and Literary Bioethics: Animality, Disability, and the Human (2020). modernism / modernity volume thirty, number one, pp 177–200. © 2023","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"177 - 200"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42280853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Telling Time in Modernism","authors":"S. Cole","doi":"10.1353/mod.2023.a902617","DOIUrl":"https://doi.org/10.1353/mod.2023.a902617","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"201 - 208"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41794666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Illustrating Eliot: Edward McKnight Kauffer and the Ariel Poems","authors":"John T. Quin","doi":"10.1353/mod.2023.a902603","DOIUrl":"https://doi.org/10.1353/mod.2023.a902603","url":null,"abstract":"ion, and flattening the planes of perception emerged from his poster designs of the 1910s–20s prior to his success in the London publishing world from the mid1920s. From 1915, the British transport administrator Frank Pick commissioned a series of posters by Kauffer depicting London boroughs and various English countryside landscapes, as well as advertisements for winter sales reached by underground train. Kauffer’s Winter Sales posters feature abstracted shapes in bold colors to represent commuters in coats with stippled effects and diagonal stripes to represent snow and rain. He assimilated different styles and schools of graphic art into his poster designs and later illustrations, and his range of underground posters united the conventions QUIN / edward mcknight kauffer and the ariel poems 61 of Japanese color prints, Toulouse-Lautrec’s poster designs, and Vorticist painting (Haworth-Booth, Kauffer, 27–28). The Winter Sales posters were particularly admired by Fry for the experimental design and abstract forms, which Fry believed the public were more receptive to on their daily commute: “It is surprising, what alacrity and intelligence people can show in front of a poster which if it had been a picture in a gallery would have been roundly declared unintelligible. The judicious frame of mind evidently slows the wits very perceptibly.” According to Fry, the silhouetted, simplified, and abstracted forms of shoppers braving the weather were readily identified as such on the underground hoardings. Outside the galleries of high art, or indeed beneath them in Kauffer’s subterranean gallery, the public was more receptive to abstract art and experimentation. The ubiquity of poster adverts might allow the modern artist to smuggle in a new style and cultivate new modes of appreciating art. For Kauffer, this abstract simplicity was a fundamental property and requirement of modern poster design. In The Art of the Poster (1924), he stressed that the compositional arrangement of a poster was necessarily different from “pure painting” because of the demands of advertising. The poster must convey a set of facts to the spectator with a perceptible immediacy that also “remain[s] impressed upon his memory.” Kauffer’s reputation as the preeminent “poster-king” has been duly cemented by recent critical and curatorial attention (Lewis, Blasting and Bombardiering, 212). However, his prolific illustration work and book cover designs have received less attention. Elements of Kauffer’s poster design aesthetic, his insistence on symbols and compositional arrangements that were simple but memorable, proved complementary to his burgeoning work as an illustrator. From the 1920s–30s, he worked for some of the most prominent publishers in London, including Francis Meynell at Nonesuch Press, Victor Gollancz, Harold Curwen, Richard de la Mare at Faber and Gwyer, and Leonard and Virginia Woolf at Hogarth Press. Similarly, by the mid-1920s, Eliot was a well-established cultural f","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"57 - 81"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43653295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Corroding Geometries: Elsa Gramcko, Automobility, and the Paradoxes of Venezuelan Modernity, 1955–1965","authors":"Devon Zimmerman","doi":"10.1353/mod.2023.a902607","DOIUrl":"https://doi.org/10.1353/mod.2023.a902607","url":null,"abstract":"man is the Associate Curator of Modern and Contemporary American Art at the Ogunquit Museum of American Art in Maine. He cocurated the exhibition, Deconstructing Power: W. E. B. Du Bois at the 1900 World’s Fair, at Cooper Hewitt, Smithsonian Design Museum and his research is currently focused on transatlantic networks of fueling modernism in art and design. modernism / modernity volume thirty, number one, pp 149–176. © 2023","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"149 - 176"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42436357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Wallace Stevens, Plato, and the Question of Poetic Truth","authors":"J. L. Hart","doi":"10.1353/mod.2023.a902606","DOIUrl":"https://doi.org/10.1353/mod.2023.a902606","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"129 - 148"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43393609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Queer Desire and the Anthropological Imagination: Randolph Stow and Bronislaw Malinowski in the Trobriand Islands","authors":"Ellen Smith","doi":"10.1353/mod.2023.a902601","DOIUrl":"https://doi.org/10.1353/mod.2023.a902601","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"21 - 36"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47046494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Modernist Poetry and the Limitations of Materialist Theory: The Importance of Constructivist Values by Charles Altieri (review)","authors":"Lukas Moe","doi":"10.1353/mod.2022.0046","DOIUrl":"https://doi.org/10.1353/mod.2022.0046","url":null,"abstract":"891 The first issue of the latter journal included a manifesto declaring that “surrealism alone has recognised the historical mission of laziness” (210–11). Chicago Surrealists produced an explosive cultural mixture, combining IWW sabotage tactics, surrealist imagination, and Herbert Marcuse’s “pleasure principle.” In the 1970s, Franklin Rosemont had an extended correspondence—some of which was published—with Marcuse, who, despite some disagreements with his young friend, believed that surrealism was an effective antidote to the “performance principle” which produced in the necessity of work. As Penelope Rosemont argues in “A Brief Rant Against Work,” a pamphlet from 2000 that invokes to Marx, Breton, and Marcuse, “without work, the capitalist juggernaut . . . would grind to a halt” (182). This last chapter of Susik’s book holds special interest because it shows that surrealism as a movement of cultural subversion was not limited to Paris and did not end with Breton’s death. Thanks to Susik, an important aspect of surrealist activity and of the surrealist “structure of feeling” has been thoroughly analyzed and discussed for the first time. Future scholarly reflections on this unique movement, founded in 1924 but still active in many places in the world, will have to take into account her narrative of surrealist sabotage.","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"891 - 893"},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48625427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}